Alberto Alessi talks design

Achille Castiglioni, a prominent figure in global industrial design, demonstrated an extraordinary ability to transform ordinary materials into masterpieces, contributing significantly to Italian design after World War II. His work, often created in collaboration with his brother Pier Giacomo, is celebrated in leading museums and educational resources worldwide. This article highlights ten of his most iconic designs, showcasing his creative philosophy of achieving maximum results with minimum means. One notable creation is the Luminator floor lamp (1954, FLOS), co-invented with Pier Giacomo. This lamp exemplifies simplicity and functionality, comprising a galvanized metal tripod, an iron rod, and a lampshade-less bulb. Its minimalist design reflects the Castiglioni brothers' core principle of efficiency in design. Another iconic piece is the Mezzadro stool (1957, ZANOTTA), which ingeniously reuses an old tractor seat, a bent iron bar, and a wooden stand. Originally produced by Isa and later by ZANOTTA, this stool is a testament to their innovative approach to repurposing everyday objects into functional and aesthetically pleasing furniture. Similarly, the Sella stool (1957, ZANOTTA) utilizes a bicycle saddle, a steel pole, and an iron base, allowing for a unique combination of sitting and movement, reflecting Achille Castiglioni's desire for adaptable furniture. The Sanluca chair (1960, POLTRONA FRAU) offered a contemporary take on classic armchairs. Its ergonomic design and the modular production process, where components like the seat, backrest, and headrest were made separately and then assembled, were revolutionary. After being produced by several companies, Poltrona Frau continues its production today, often paired with the Luca pouf. In the 1960s, Achille and Pier Giacomo collaborated with FLOS to introduce the innovative Cocoon technology for lighting. This technique involved spraying synthetic resin onto a metal frame to create a unique "cocoon" effect. Their designs, such as the Taraxacum, Viscontea, and Gatto lamps, quickly gained popularity for their distinctive appearance. The Brionvega RR126 stereo radio (1965, RADIOLA) made a significant impact in both design and technology. Its modular design allowed it to fold into a compact square, and its handcrafted wooden case ensured each unit was unique. Equipped with wheels, it offered mobility within a space. For the La Casa Abitata exhibition in Florence, Achille and Pier Giacomo designed the Firenze wall clock (1965, ALESSI). Though initially a prototype, Alessi later produced it in 1996, retaining its original design while introducing new color variations. After Pier Giacomo's passing, Achille Castiglioni continued to innovate. The Paro inverted glasses (1983, DANESE) showcase his simple yet ingenious concept: an inverted glass with a stem that doubles as a shot glass. The Joy modular shelving unit (1989, ZANOTTA) is another original work, allowing users to create various spatial compositions by twisting wooden consoles strung on a steel rod. In his later years, Achille Castiglioni also engaged in teaching, influencing future generations of designers. The 40/80 chair (1999, Moroso), co-created with Ferruccio Laviani, is an example of his collaborative spirit with young talent. The enduring appeal and museum presence of Castiglioni's works underscore his lasting legacy in industrial design, which continues to inspire and impress with its blend of functionality, innovation, and artistic vision. #AchilleCastiglioni #IndustrialDesign #ItalianDesign #FurnitureDesign #LightingDesign #ProductDesign #DesignIcons #MinimalistDesign #DesignHistory

Giulio Barresi, the Head of UX, Controllers at Logitech, shares his unique perspective on design and his journey from aspiring biologist to a leader in technology design. Raised in Geneva with a Norwegian mother and Sicilian father, Barresi initially pursued a traditional path with an emphasis on biology. However, he soon found himself drawn to more artistic fields, ultimately deciding to study media interaction design. His early work involved photography, which evolved to incorporate coding, electronics, and visuals, reflecting a multidisciplinary approach to design. Barresi acknowledges that his professional journey was not without its moments of doubt and self-questioning, a common experience he views as a healthy challenge that drives continuous growth and improvement. He credits various mentors and supporters for shaping his perspective, including a high school English teacher who instilled in him the importance of perseverance and activism, and a filmmaker friend who encouraged him to professionalize his passion. After an initial period at a smaller design studio, Barresi joined Logitech, where he has been instrumental in developing their global product lineup, ranging from personal workspace solutions to gaming equipment. As the Head of UX, Controllers, Barresi recently spearheaded the creation of the MX Creative Console, a innovative set of tools designed for professional creatives. Despite his work with advanced technology, he maintains a simple approach to capturing nascent ideas, often relying on sticky notes and readily available surfaces for jotting down thoughts. He also expresses an interest in exploring audio recordings as a future method for documenting his ideas, envisioning himself using a small recorder to vocalize concepts as they emerge. In the "Friday Five" segment, Barresi shares five items that currently capture his interest. First, the Beosound A5 by Bang & Olufsen, a portable speaker that he values for its blend of brand heritage and modern design, seeing it as a way to share the immaterial experience of music. Second, he highlights the Norwegian "Ostehøvel," or cheese slicer, appreciating its unique purpose and its connection to his cultural heritage, beyond its practical utility. Third, the Dyson Cordless Vacuum Cleaner earns his admiration for its ability to transform a mundane chore into a more enjoyable experience through innovative engineering and design, showcasing how technology can effectively solve user problems. Fourth, Barresi discusses "Under," an underwater restaurant in Norway. He describes it as an unforgettable culinary experience, combining Michelin-star dining with the unique architectural marvel of being five meters underwater, offering views of marine life. Finally, he selects the Unikko Pattern from Marimekko. This 60-year-old Finnish design, he notes, remains timeless and vibrant, contrasting with the often austere Nordic climate by bringing warmth and sparking conversation through its use in fashion and home decor. The article concludes by showcasing some of Barresi's work for Logitech, including a webcam, an editing console, a vertical computer mouse, a wireless mouse, and a compact mechanical keyboard, illustrating his contributions to contemporary technology design. #GiulioBarresi #Logitech #UXDesign #ProductDesign #Technology #IndustrialDesign #CreativeTools #DesignPhilosophy #BangAndOlufsen

The article discusses the collaboration between fashion label COS and American light-based artist Phillip K Smith III for an installation titled 'Open Sky' at Milan's Salone del Mobile. This project, featured in the 2018 edition of the design fair, marks a significant departure for both parties: Smith's first brand collaboration and his initial foray into a dense urban setting, moving away from his usual desert landscapes. COS, known for its annual design collaborations since 2012 with talents like Sou Fujimoto and Studio Swine, aimed to create an experience that transcends traditional art and design boundaries. Karin Gustafsson, COS' creative director, emphasizes that the brand's collaborations are driven by passion for the artists' work rather than a desire for increased presence. She highlights that COS provides a broad brief, focusing on brand values but allowing artists creative freedom. The choice of Phillip K Smith III was influenced by the shared values of tactility, modernity, and functionality, as well as Smith's meticulous attention to detail and the timeless quality of his work, which resonated with COS' aesthetic. 'Open Sky' is strategically placed within the 16th-century Palazzo Isimbardi, an exhibition venue previously unused. Smith's sculpture, a circular mirrored structure angled at 43 degrees, reflects the sky and surrounding Italian Renaissance architecture, drawing fragmented views into the courtyard. This design aims to create a unique and personal experience for each visitor, influenced by the time of day and atmospheric conditions. The installation encourages contemplation, offering a quiet respite from the bustling Salone del Mobile. The ambitious structure, an 11ft-tall concrete form with 34 chemically polished stainless steel panels, was fabricated by UAP, an international studio specializing in public art projects. The components were manufactured at UAP's Long Island City facility, then shipped to Milan for on-site assembly. The installation's journey begins with visitors encountering the imposing concrete form, which contrasts sharply with the classical palazzo. A single opening guides them along its circumference, eventually revealing the mirrored inner surface that reflects the Renaissance architecture and the sky. Additionally, smaller freestanding sculptures by Smith are installed in the palazzo's outdoor gardens, further exploring the distillation of his larger concepts into abstract, smaller-scale works. Smith notes that COS's support was instrumental in realizing his vision, allowing the concept to remain remarkably true to his original proposal. He describes the collaboration as akin to a museum offering space and budget, indicating COS's commitment to supporting artistic ideas. With degrees in both architecture and fine art from the Rhode Island School of Design, Smith effectively merges these disciplines in his practice, creating art at an architectural scale. His architectural training informs his approach to context and detailing, ensuring the concept and experience are pure. 'Open Sky' represents a significant development in Smith's practice, allowing him to explore his ideas on an architectural scale within an urban environment, an opportunity that he suggests would have been much smaller without COS's involvement. #SaloneDelMobile #COS #PhillipKSmithIII #ArtInstallation #MilanDesignWeek #ArchitecturalDesign #ReflectiveArt #ContemporaryArt #DesignCollaboration

This article features an interview with Cristiano Gatto, the interior designer for Heesen Yachts' Project Altea, a 50-meter all-aluminium superyacht priced at nearly €36 million, with delivery scheduled for May 2021. Gatto, who trained as a sculptor, approaches yacht design with a focus on blending aesthetics and function, viewing each project as a sculpture refined to the smallest detail, incorporating curves, lines, lighting, and patterns to achieve the final result. The process of styling a yacht's interior varies depending on whether it's a fully custom or semi-custom project. For fully custom projects, Gatto collaborates closely with the owner, translating their ideas and emotions into a feasible design over many months. For semi-custom projects like Project Altea, the approach involves anticipating future clients' desires and creating a versatile design that allows for customization without significantly impacting the advanced construction stage. A 50-meter project, from concept to delivery, typically involves approximately 50 to 60 people. The primary brief for Project Altea was to create a yacht with a distinct personality, catering to the lifestyle expectations of 2021, while building upon the experiences gained from its sister ships, “Home” and “Electra.” The goal was to develop a warm and welcoming ambiance, a cocoon where occupants feel pampered and protected. This was achieved through interior design choices such as soft, curvy lines for furnishings and surfaces, a palette of soft colors, and a meticulous selection of materials like wood, various textures, fabrics, and upholsteries to foster a calm and relaxing atmosphere throughout the vessel. One of the main challenges for Project Altea was to imbue it with a new soul and unique interior approach, despite sharing a similar exterior design with its predecessors. Gatto emphasized the importance of ensuring Altea was not a mere replication but a distinct entity. During construction, Gatto maintains a close collaboration with Heesen's team, relying on their organizational structure for quality control and adherence to a tight schedule. This involves numerous meetings to meticulously select materials such as marble and wood, ensuring high-spec, long-lasting quality and a balance between cost and premium standards. Reflecting on his career, Gatto states that his favorite projects are always the next ones, as each vessel holds a unique place in his heart. Currently, he has seven vessels on the design board. Regarding potential future adjustments to yacht design due to social distancing, Gatto believes yachts are inherently ideal for maintaining a healthy and protected environment. He notes that challenges would arise from space limitations, particularly for crew areas, necessitating independent air conditioning systems and dedicated outdoor spaces for the crew. He is also currently restoring a castle in the UK, aiming to return it to its original grandiose state, drawing inspiration from his Venetian heritage. If he were to own a yacht, Gatto indicates it would likely be one he is currently deeply involved with, such as the Aquamarine Project for Heesen, which incorporates Japanese influences and philosophies, focusing on achieving perfect harmony through a "Mushin"-inspired design process. Looking ahead, Gatto expresses a desire for continued travel, viewing it as essential for his creativity and ability to avoid repetitive designs. He maintains a highly personal approach to his work, overseeing each project closely rather than managing a large team or quantity of projects. #CristianoGatto #HeesenYachts #ProjectAltea #YachtDesign #InteriorDesign #LuxuryYachts #Superyacht #NavalArchitecture

Milan Design Week and Salone del Mobile, annual events in April, draw a global audience of designers, curators, buyers, editors, and visitors. This week serves as a hub for creative ideas and industry discussions, offering insights into future trends in interiors, product design, and architecture. Four interior design experts from Arighi Bianchi, ROCCIA, Apollo Blinds, and My Fitted Bedroom analyze the potential impact of this year's key trends on UK interiors. One significant trend is "Playful Maximalism," indicating a shift away from subdued minimalism towards bold, expressive designs. This approach embraces vibrant colors, whimsical forms, and a mix of eclectic materials, as seen in Louis Vuitton’s flower-shaped record player and Loewe’s artistic teapots. Gavin Farrington of ROCCIA notes that this trend, especially in kitchens and bathrooms, encourages bold tile choices, expressive textures, and unexpected color pairings like deep emeralds with blush pinks or terrazzo floors with sculptural brassware. Maximalism emphasizes curated expression through purposeful layering of patterns, finishes, statement lighting, and art. Lucy Mather of Arighi Bianchi adds that this trend promotes freedom and personal reflection in home decor. Another emerging trend is "The Reflective Renaissance," characterized by the widespread use of shiny chrome, aluminum, and mirror finishes. Examples include Hiroto Yoshizoe’s ‘ubique’ lights and Nilufar Depot’s ‘Silver Lining’ concept, highlighting luminosity and depth. Lucy Mather believes this trend is gaining momentum in the UK, especially in smaller spaces where reflective materials can bounce light, add depth, and uplift a room without extensive structural changes. Mirrored coffee tables or chrome light fittings can transform spaces with limited natural light. The key is balance, using well-chosen high-gloss elements to make rooms feel bigger and brighter, while also creating tactile contrast when paired with plush fabrics like velvet or boucle, as observed by Matt Thomas from Apollo Blinds. The "Fusion of Fashion" trend sees major fashion houses integrating their brand DNA into home interiors. Gucci reinterpreted its bamboo motif, Prada focused on sustainability with discussions on a vintage train, and Dolce & Gabbana revitalized baroque print furniture with vibrant patterns. Missoni Home’s debut boutique further solidified the connection between fashion and home decor, emphasizing storytelling through spaces and objects. Lucy Mather appreciates how interiors are becoming as expressive as fashion, driven by inspiration from online magazines, Instagram, TikTok, and Pinterest, leading to increased confidence in color, curated clashes, and layered textures. Finally, "The Human Touch" highlights a return to craft and tradition, focusing on human-centric design and inclusivity. SaloneSatellite’s ‘New Craftsmanship’ theme underscored personal connection and wellbeing. Brands like Cassina and Natuzzi revisited their archives, reinterpreting heritage with fresh energy. New furniture lines with organic curves and immersive sensory installations were designed to evoke emotion and enhance mood and wellbeing. Megan Baker of My Fitted Bedroom notes that this trend reflects a desire for furniture with purpose, precision, and personality, moving away from disposable trends. It emphasizes creating spaces that make life easier, more beautiful, and deeply personal, where comfort and emotional connection are paramount. The overarching theme observed by all experts is the increasing role of technology in home design, with installations at Fuorisalone and LG demonstrating the blend of physical and digital worlds. #MilanDesignWeek #SaloneDelMobile #InteriorDesign #PlayfulMaximalism #ReflectiveRenaissance #FashionFusion #HumanCentricDesign #HomeDecorTrends #ProductDesign

The "Innesti" series, developed by designers Alexandra Denton and Sofia Lazzeri, introduces a collection of vessels that seamlessly integrate glass and textiles. The name "Innesti" is derived from the Italian word for grafting, a botanical process involving the fusion of tissues from two distinct plants to cultivate new varieties. This concept serves as the foundational principle for the project, which aims to merge disparate materials to generate novel forms and aesthetic experiences. The core idea behind Innesti is to combine the inherent qualities of a hard, rigid material like glass with the soft, pliable nature of textiles. This juxtaposition results in a compelling visual and tactile harmony, where the seemingly contradictory characteristics of the materials complement each other, creating a sense of belonging and unity. The designers intentionally chose these materials to highlight their individual voices and to stimulate an aesthetic appreciation that thrives on contrasts. This approach celebrates the unique properties of each component while showcasing how they can be harmoniously integrated. Innesti is not merely about combining materials; it is also a deliberate exploration of knowledge and tradition within design. By drawing inspiration from the ancient technique of grafting, Denton and Lazzeri infuse their contemporary design with a reverence for established practices. The project underscores the potential for innovation when traditional methods are reinterpreted through a modern lens, emphasizing the enduring relevance of craftsmanship and material understanding. The series was prominently featured at Greenhouse during Stockholm Design Week, an event recognized for showcasing emerging talent and innovative design concepts. Its exhibition there highlights the project's significance in the broader design landscape, drawing attention to its inventive use of materials and its thoughtful conceptual framework. The public presentation allowed for a wider appreciation of how Innesti challenges conventional perceptions of material compatibility and opens new avenues for design exploration. Through Innesti, Alexandra Denton and Sofia Lazzeri offer a compelling narrative about the transformative power of material synthesis. Their work demonstrates that by thoughtfully combining diverse elements, designers can create objects that are not only visually striking but also imbued with deeper meaning, fostering a richer aesthetic and intellectual engagement with everyday objects. The project serves as an example of how designers can push boundaries by exploring the interplay between contrasting textures and forms, ultimately enriching the discourse on material innovation and design artistry. #InnestiVessels #AlexandraDenton #SofiaLazzeri #GlassTextileDesign #MaterialFusion #DesignInnovation #StockholmDesignWeek #ContemporaryDesign #HomeFurnishings

At the 2018 Milan Design Week, Italian architect Stefano Boeri unveiled a door handle named 'DUE', designed for DND, an Italian door handle company celebrating its 50th anniversary. The 'DUE' handle is conceived as a small piece of architecture, aiming to serve as a bridge between the human body, industrial design, and the broader architectural context. Its design reimagines the traditional relationship between the handle's grip and its attached plate, presenting both as a pair of slender, equally proportioned parallelepipeds. This approach elevates a common functional object into a significant design element, reflecting Boeri's architectural philosophy on a micro-scale. The initiative stemmed from DND's newly appointed artistic director, Giulio Iacchetti, who invited five Italian architects to develop unique door handle designs to commemorate the company's half-century milestone. Stefano Boeri was among the selected architects, tasked with infusing an architectural perspective into the design of a door handle. The result, 'DUE', stands out for its minimalist form and conceptual depth, aligning with Boeri's known focus on integrating natural and architectural elements in his larger projects. During Milan Design Week, an exhibition titled 'Handling Architecture' showcased Boeri’s 'DUE' alongside four other designs from notable architects: Alfonso Femia, Maurizio Varratta, Cino Zucchi, and 967 Arch. This exhibition was hosted at the Lualdi showroom, situated in the vibrant Brera Design District, and featured the five innovative door handles mounted on Lualdi doors. The installation, curated by Francesco Librizzi, allowed visitors to experience these designs in a contextual setting, highlighting how these small architectural components interact with the larger structure of a door and, by extension, a building. The project underscores the potential for everyday objects, like door handles, to embody significant design principles and architectural concepts. Boeri's 'DUE' handle, with its emphasis on pure geometric forms and its role as an interface between user and space, exemplifies a thoughtful integration of industrial design with architectural sensibility. It challenges the conventional perception of a door handle, transforming it from a mere utility into a tactile and visual component that contributes to the overall aesthetic and functional narrative of an interior space. The collaboration between DND and these prominent architects further illustrates a commitment to design innovation and the exploration of new possibilities within a seemingly simple product category. #MilanDesignWeek #StefanoBoeri #DND #DoorHandleDesign #IndustrialDesign #ArchitecturalDesign #ItalianDesign #GiulioIacchetti #ProductInnovation

Digital artist Andrés Reisinger has unveiled his latest NFT project, "Winter House," a virtual residence designed in collaboration with architect Alba de la Fuente. This project is a significant step in Reisinger's ambition to establish a metaverse architecture company and broader goal of digitizing real estate and interior design. The "Winter House" is characterized by a clean, minimalist aesthetic inspired by Dieter Rams' 1960s designs, rendered in soothing pastel hues, evoking the serene and frosty quality of a winter day. The collaboration between Reisinger and de la Fuente integrates their respective architectural and creative perspectives to explore new ways of perceiving space. Reisinger's distinctive dream-like aesthetic is evident in the soft, sorbet-like color palette, which transforms the virtual location into a key design element. The architectural layout emphasizes a seamless integration of the indoor and outdoor environments, primarily achieved through extensive use of glass walls that allow natural light to permeate the interior. Throughout the design, thoughtful juxtapositions create a unique sense of balance. The structure, though composed of concrete, appears to float effortlessly above its foundations, conveying a sense of lightness. Similarly, an open-plan layout manages to maintain an intimate atmosphere. The interior styling focuses on creating a cozy ambiance through a harmonious blend of pink tones, some custom-developed by Reisinger himself. These warm hues provide a tranquil counterpoint to the more rigid natural materials such as concrete, glass, and steel used in the construction. For Reisinger, "Winter House" serves as an opportunity to merge his expertise in both the art and design realms, creating a unique hybrid that combines digital and physical production methods. The project reflects his diverse inspirations, culminating in a virtual sanctuary that embodies the stillness of winter. Reisinger explains that the vision was to translate the feelings of quietness, stillness, and comfort associated with the cold season into a residential form within the metaverse. This project thus not only pushes the boundaries of digital architecture but also redefines how we might experience and interact with residential spaces in virtual environments. #AndresReisinger #NFT #MetaverseArchitecture #DigitalArt #VirtualRealEstate #AlbaDeLaFuente #MinimalistDesign #PastelColors #InteriorDesign #FutureOfDesign

Interior Design's Giants and Rising Talent event commenced in Encinitas, California, bringing together established and emerging designers. The three-day event, hosted at the Alila Marea Beach Resort for the second consecutive year, began with a welcome by Editor-in-Chief Cindy Allen. A key highlight of the opening night was a discussion between Tom Kundig, principal and founder of Olson Kundig, and Douglas Keane, owner and chef of Cyrus Restaurant, a project designed by Kundig's firm. Cindy Allen emphasized the importance of gathering the design community, particularly highlighting the blend of seasoned "Giants" and promising new talent. She introduced Tom Kundig as a career hero, acknowledging his ability to translate his unique vision into reality. Kundig, however, shared that his journey wasn't always straightforward, stressing the importance for young designers to find their niche and commit to it. He recounted his professional relationship with Jim Olson, the firm's founding partner, likening their dynamic to the trust and reliance essential in mountain climbing. This profound trust allowed the firm to develop a client-focused model. Olson Kundig's foundation in residential design provided a deep understanding of human needs. Kundig explained that residential projects, which address fundamental requirements like shelter, offer insights applicable to larger-scale endeavors. The firm's portfolio now spans diverse projects, including museums, educational institutions, and hospitality spaces such as Cyrus Restaurant, known for its innovative philosophy. The discussion then shifted to the design of Cyrus Restaurant, with Douglas Keane joining the stage. Keane, with two decades of experience in the restaurant industry, aimed to create a dining experience in Napa Valley that mimicked a dinner party, allowing guests to move through various rooms. He also sought to establish a comfortable environment for staff, addressing common industry challenges like high turnover and working conditions. Kundig highlighted his team's open-minded approach to the project, emphasizing that they prioritized Keane's vision and the specific context of the 1930s warehouse and vineyard setting rather than imposing preconceived ideas. He stated that being sensitive to these elements, rather than working in a silo, leads to extraordinary outcomes. The resulting restaurant space is described by Keane as a dream realized, fostering connection by blurring the lines between chefs and guests, including an immersive kitchen experience. Kundig encouraged young designers to pursue their own passions, advising them not to emulate others but to follow their inner calling. Allen concluded by praising Kundig and Keane for their human-centric approach to design, setting the tone for the event's subsequent discussions on architecture and humanity. The article also mentions future coverage of event highlights, including industry trends and insights. #InteriorDesign #Architecture #DesignEvent #TomKundig #OlsonKundig #CyrusRestaurant #HospitalityDesign #ResidentialDesign #DesignPhilosophy

Milan Design Week and Salone del Mobile 2024 provided a prominent platform for Japanese design, showcasing a diverse range of innovative creations from various brands. The event highlighted traditional craftsmanship integrated with modern aesthetics, spanning furniture, lighting, textiles, and art installations. Several key brands presented new collections and exhibitions across Milan, emphasizing unique materials and design philosophies. Karimoku Case, known for its woodworking and manufacturing precision, exhibited at Salone del Mobile with a theme of 'Natural Contrasts.' The exhibition, curated by architect Keiji Ashizawa, created a serene atmosphere with spaces designed to connect indoor and outdoor elements. A notable feature was the reintroduction of _keyaki_ (zelkova) wood, traditionally used in temples and shrines, into contemporary furniture, aiming to revive its popularity. Designs by Ashizawa, Norm Architects, and Norman Foster were prominently displayed, reflecting a holistic approach to furniture within specific project settings. Three other Karimoku brands also held separate exhibitions. Seyun, a collaboration fusing Zaha Hadid's futuristic designs with Karimoku's wood craftsmanship, unveiled a new side table, tray, and lounge chair, all crafted from single pieces of wood. Mas, creatively directed by Wataru Kumano, debuted in Milan with 'Project Hinoki,' an exploration of Japanese cypress wood, featuring minimal lights by Daniel Rybakken and low triangular tables by Ville Kokkonen. Karimoku New Standard, with David Glättli as creative director, presented its first solo show in five years, showcasing pieces like the Polar sofa by Moritz Schlatter and textiles from a collaboration with Reiko Sudo's nuno, all in an atmospheric artist's studio setting. The textile industry was represented by Hosoo, a centuries-old Kyoto maker, in collaboration with Michele de Lucchi. Their 'Mind Landscape Collection' explored forest aesthetics through four new textiles (Cedar, Red Elm, Red Oak, Afzelia) with motifs derived from macro photographs of wood fibers and satellite imagery, blurring the lines between wood and fabric. Issey Miyake's 'Fold and Crease' installation, created by Dutch collective We Make Carpets, featured 60,000 hand-dyed bamboo skewers forming an undulating abstraction, evoking an underwater landscape within the brand's flagship store. Sugiyama Furniture, specializing in solid iron craftsmanship, presented 'The Beauty of Lines,' showcasing the versatility of iron in minimalist interior products. Collaborations with Japanese creatives yielded pieces like Kazuteru Murasawa's Felice chairs, combining lightweight iron with organic leather details, and Fumie Shibata's Wall Deco series. Ambientec, a Japanese lighting brand, introduced Fotika, a hybrid portable and desk lamp designed by Kensaku Oshiro, inspired by the light filtering through ocean waters and crafted from a single piece of aluminum. Majotae, a Japanese hemp brand, presented Majotae 9490, a new line of bedding made from _tamai-fu_, a super-fine traditional hemp, with textiles displayed in natural dyes. The exhibition also showcased historical hemp artifacts and a live demonstration of traditional weaving. Stellar Works, a Japanese furniture brand based in Shanghai, returned with an expansive showcase inspired by Marco Zanuso, featuring new Neri & Hu products like the Qi collection sofas and the Taiko terrazzo table by Studio Stefan Scholten. Finally, Nagano Interior, making its Salone del Mobile debut, presented solid wood furniture crafted from materials like red oak and Japanese ash, embodying the concept of 'wa' or harmony, with pieces like the DT614 table and Corona chair. Ritzwell, another Fukuoka-based furniture maker, blended Japanese craftsmanship with functional design, showcasing the Constantino Armchair by Shinsaku Miyamoto and the MT Coffee Table, alongside new wood color shades Sohbobku and Gen. #MilanDesignWeek #SaloneDelMobile #JapaneseDesign #FurnitureDesign #TextileInnovation #LightingDesign #Craftsmanship #SustainableMaterials #InteriorDesign

The article discusses the evolution of biophilic architecture from a niche concept to a mainstream design approach, emphasizing its benefits and challenges. Biophilia, defined by Edward O. Wilson in 1984, posits that humans have an innate need to connect with nature. Incorporating natural elements into built environments has been shown to improve human well-being, including lower blood pressure, reduced stress, enhanced attentiveness, and increased happiness and creativity. Beyond human benefits, biophilic design also contributes to environmental health by fostering biodiversity, decreasing energy consumption, reducing carbon emissions, and purifying polluted air. Richard Hassell, co-founder of WOHA, a Singaporean architectural firm, notes the shift in perception where developers, initially skeptical, now actively embrace biophilic principles. However, he cautions against the reduction of biophilia to a mere marketing buzzword, stressing the importance of thoughtful and effective implementation rather than just adding plants. The success of biophilic design hinges on how deeply it integrates natural elements and functions, moving beyond superficial aesthetics. MK Leung, director of sustainable design at Ronald Lu & Partners (RLP) in Hong Kong, highlights the need to quantify the quality of biophilic interventions. RLP utilizes a custom script within Rhinoceros with Grasshopper to evaluate projects based on biophilic elements a user would experience, such as views of greenery, natural sounds, scents, and sensations. This ensures that biophilic principles are consistently applied and sustained throughout a project. Examples like RLP's Garden Crescent, a residential tower with vertically linked gardens, and Echo House, a modular residential development integrating biophilic elements to soften its manufactured feel, demonstrate this commitment. Despite Hong Kong's challenging hyper-dense urban landscape and rigid building codes, biophilic design has found fertile ground. The E-Co Village, a recreational space on a former landfill site designed by AOS Architecture, exemplifies this by offering a natural environment for learning about sustainability, powered by solar energy. Corrin Chan of AOS Architecture drew inspiration from Thich Nhat Hanh's "Zen and the Art of Saving the Planet," emphasizing that humans are integral to the environment. Swire Properties' redevelopment of Taikoo Place further illustrates this trend, incorporating 6,500 square meters of public open space, inspired by traditional feng shui woods, to connect urban areas with natural ecosystems and enhance biodiversity. Richard Hassell underscores the importance of designing not only for human-centric biophilia but also for biodiversity, suggesting that a garden rich in butterflies and birds offers a more profound biophilic experience. WOHA's upcoming Faber House in Singapore, for instance, features interconnected vertical gardens and a 15-story waterfall, designed to create interconnected ecosystems. The article also addresses the critical question of environmental sustainability in biophilic design. Leung emphasizes that biophilic designs must not consume more energy than conventional designs to be truly beneficial. Hassell acknowledges the complexity of this calculation, noting that while a poorly designed green wall might be unsustainable, the wellness and mental health benefits, along with improved air quality, often justify the investment when executed thoughtfully. Ultimately, biophilic design aims to harmonize environmental support with human wellness, representing a convergence of these critical objectives. The article also mentions several other biophilic projects in Asia, including Central Park in Vietnam, which integrates engineered 'trees' for rainwater collection and solar power generation; Heatherwick Studio's 1000 Trees in China, resembling a cliffside forest; Kai Yufuin Ryokan in Japan, a hot springs resort designed with terraces inspired by rice fields; and WOHA's Pan Pacific Orchard in Singapore, known for its lush greenery and open-air spaces in a vertical setting. These projects collectively showcase the diverse applications and growing acceptance of biophilic principles in contemporary architecture across the region. #BiophilicArchitecture #SustainableDesign #UrbanPlanning #EnvironmentalSustainability #HumanWellbeing #ArchitecturalInnovation #HongKongArchitecture #SingaporeArchitecture #GreenBuildings

Momina Watton, the visionary founder of Atelier278, shares insights into her creative journey and the philosophy behind her furniture designs, which emphasize modern aesthetics, natural materials, and meticulous craftsmanship. Watton's design philosophy is characterized by a "classic with a twist" approach, evident in her personal style and the interiors of her apartment, which combine luxurious materials like marble, linens, and velvets with contemporary chrome and stainless-steel accents, creating unexpected yet harmonious pairings. This consistent aesthetic has been a part of her life since childhood, with her interiors brand, Atelier278, solidifying these long-held inspirations. Her creativity, though not formally studied in art or design, manifested in everyday activities from a young age, such as elaborately setting tables for Saturday morning breakfasts. This innate creative drive eventually led to her career in furniture design. A significant source of inspiration for Watton is Roman architecture, particularly its enduring use of natural stone. The timeless appeal of marble columns and travertine buildings serves as a constant reminder that classic design and natural materials possess lasting relevance. This appreciation for the historical use of stone informs her contemporary pieces, ensuring they feel both ancient and modern. Watton's transition into furniture design was unexpected. Formerly working in beauty PR, the pandemic provided her with an opportunity to explore her passion for interiors. She began by sharing her interior finds on Instagram, which led to sourcing vintage marble furniture for notable figures like Bettina Looney and Suki Waterhouse. This experience eventually spurred her to design and create her own pieces. A memorable acquisition was a vintage marble coffee table, discovered in a reclamation yard, which now resides in the home of Vogue Commerce Director, Naomi Smart. This find underscores Watton's ability to see potential in overlooked objects and her talent for transforming them. Her mother's strong, independent sense of style significantly influenced Watton, teaching her the importance of authenticity in personal expression. When it comes to color, Watton expresses a deep affection for green, from vibrant matcha to earthy olive tones, valuing its versatility and pleasing aesthetic in interiors. Green onyx, in particular, is a favored material for her accessories due to its natural texture and rich color. Travel, especially to Copenhagen, also provides rich inspiration. She admires brands like FRAMA and Yonobi Studio for their immersive experiences that extend beyond mere shopping, fostering a sense of community. Collecting glassware is another passion, as Watton believes the vessel can enhance the drinking experience. Her collection spans diverse origins, from Marrakech mint tea glasses to Parisian wine glasses and cut crystal tumblers for negronis, necessitating a dedicated cabinet in her kitchen. In terms of media, she is drawn to films with exceptional art direction and escapist qualities, citing "Call Me By Your Name," "The Talented Mr Ripley," and "A Single Man" for their incredible interiors and settings. Music also plays a crucial role in her creative process, with playlists featuring artists like Arooj Aftab, Sufjan Stevens, The Cure, Mazzy Star, and The Cranberries. Cooking is another creative outlet, with her signature dish being a sea bass recipe inspired by a restaurant in the south of France. Watton holds admiration for fellow designers, particularly the team at Banda, whose interior designs she finds consistently beautiful. The work of the Bille Brahe family, including Frederik's restaurants and Sophie's jewelry, also serves as inspiration. Among her own creations at Atelier278, the Ellipse Dining Table in Unfilled Romano Travertine, designed for Rosie Huntington-Whiteley, stands out for its organic finish and statement presence. The Octavia Console is also highly popular, largely due to the demand for custom-sized console tables that are often difficult to find. Her accessories, such as coasters, are celebrated for their blend of functionality and style. #FurnitureDesign #InteriorStyle #NaturalStone #Atelier278 #DesignInspiration #MominaWatton #ClassicWithATwist #RomanArchitecture #HomeDecor

The article presents a curated selection of ten notable furniture and lighting designs created by prominent architects and studios, which were showcased at Milan Design Week. These designs span a range of products from chairs and tables to various lighting fixtures, highlighting the intersection of architecture and product design. Among the featured pieces is "La Magie du Bois" by Swiss studio Herzog & de Meuron, a furniture collection developed in collaboration with Marta Sala Editions Milano. This collection emphasizes wooden craftsmanship and includes four series, notably the Meninas armchairs, crafted from Canaletto walnut and fabric, specifically designed for the renovation of Hotel Les Trois Rois in Basel. The collection was exhibited at Salone del Mobile. Danish architecture studio BIG showcased their "Arctic" lamp collection at the Euroluce 2025 exhibition. This lighting series is characterized by geometric components that create a play of light and reflection, inspired by the geometry of ice crystals. The lamps feature a sculptural Archimedean form with mirrored surfaces and a central core that diffuses light, while the mirrored surfaces reflect the surroundings when the light is off. Phantom Hands, a furniture brand, collaborated with the Geoffrey Bawa Trust to reintroduce Sri Lankan architect Geoffrey Bawa’s furniture collection. This collection, encompassing chairs, tables, and lighting, recreates pieces originally developed between the mid-1960s and mid-1990s, including wood and metal furniture like the curvaceous Kandalama chairs. Gae Aulenti’s "Alcinoo" table lamp was reinterpreted by lighting brand Artemide, 50 years after its initial design. The lamp features a rounded form of blown glass encased within a cylindrical metal cage, balancing transparency and structural strength. A sphere emerges from the top, and three internal light sources filter through its transparent exterior. Japanese architect Kengo Kuma collaborated with Spanish outdoor design brand Gandia Blasco to create the limited-edition HOS collection, which includes a deckchair and stool. These pieces, displayed at Salone del Mobile, feature wooden joints, reflecting Japanese architectural traditions, and are made with tactile fabrics from recycled PET fibers. Lebanese architect Aline Asmar d'Amman presented "The Power of Tenderness," a furniture series comprising bookshelves, tables, and chairs made from marble, concrete, and stone. The Béton Littéraire series includes a bookshelf made from books and rough concrete, while other pieces like the Stone Cloud table series and Georgia lounge seating range feature plush finishes and swivel bases. Brazilian architect Marcio Kogan of Studio MK27, in collaboration with Minotti, launched the "Bézier" and "Bézier Cord Outdoor" collections. These collections, known for their organic forms, feature modular seating systems with plush finishes and coffee and dining tables with textured surfaces. Engineering firm Arup introduced "Internode," a lamp crafted from bamboo and aluminum components. Showcased at Artemide's Euroluce exhibition, this task light uses spring-free joints, relying on friction and equilibrium for its function. Norwegian studio Snøhetta, in partnership with Italian lighting manufacturer Viabizzuno, launched the "Aura" lighting collection. This collection focuses on optimizing light quality through transparent "light prisms" rather than the fixture itself. Swiss architect Mario Botta collaborated with Italian design company Alias to create the "Saturno" table collection and "Zeta" stool. The Zeta stool, built from colored MDF, is inspired by the letter Z, while the Saturno series features tables with solid central bases, reflecting Botta’s architectural style. These designs represent a blend of architectural principles and furniture aesthetics, offering functional and artistic pieces for contemporary spaces. #MilanDesignWeek #FurnitureDesign #LightingDesign #ArchitecturalFurniture #ProductDesign #ContemporaryDesign #InteriorDesign #SaloneDelMobile

This article features an interview with Arianna Bavuso and Andre Chedid, the husband-and-wife team behind AB+AC Architects, a design studio known for its cross-cultural approach and considered designs. The interview delves into their professional backgrounds, design philosophies, and current projects, highlighting their unique perspectives on architecture and its impact on human well-being. Arianna Bavuso discusses her research and teaching in neuro-architecture, a burgeoning field that explores the connection between design and the nervous system. Her interest began during her time researching informal settlements in Nairobi, leading her to question how design can inspire positive emotions. This curiosity intensified during her fast-paced work in Beijing, prompting her to reassess her values during the COVID-19 pandemic. She founded The Beauty Equation Project to educate others on how aesthetics influence health and well-being, emphasizing that everyday spaces profoundly impact us. Bavuso's course for Gritnova teaches architects and design enthusiasts about brain stimulations and their effects, advocating for a user-centered design approach that promotes holistic well-being in cities, offices, schools, hospitals, and especially homes. Bavuso explains that neuro-architecture bridges neuroscientific discoveries with design that engages all senses to evoke positive responses. She notes that the perception of beauty activates the parasympathetic nervous system, leading to the production of endorphins, reduced pain, and an enhanced sense of wonder. This response boosts the immune system, promotes cellular repair, and contributes to overall well-being and longevity. Furthermore, factors like materials, natural light, clean air, vegetation, and connectivity to social and cultural hubs all significantly impact health. She identifies the home as the primary space where resources should be invested to meet a range of physical, social, and emotional needs. Andre Chedid elaborates on a recent office project in Lisbon, where they transformed an apartment for a landscape architecture studio without structural alterations. Their solution involved a modular furniture system of desks, libraries, storage, and seating, all made from 3-ply pine panels with a natural finish. These modules are designed for easy assembly and disassembly without glue or screws, manufactured using CNC milling for precision. The off-site production minimized material waste and assembly time, allowing for the entire office to be set up within a single day. Custom stationery objects were also designed using the same natural pine, reflecting their passion for minimalist Japanese design principles. The duo also discusses their conceptual Red Sea Cultural Landmark, a meditation space in Saudi Arabia. This project combines land art with architecture, featuring a monumental concrete portal mixed with local earth that connects the Red Sea to the inland. The design integrates harmoniously with the landscape, using a roof punctured by skylights to stimulate the senses and soothe the mind, accessible by foot or sea. Chedid details the challenges of designing a high-end apartment building in Praca das Flores, Lisbon, a protected heritage area. The project required careful navigation of local residents' concerns and city regulations, especially after a previous contemporary design was rejected. AB+AC Architects conducted extensive surveys of existing facades to integrate traditional elements like ashlar corners, friezes, and stone window portals into a new main facade. They plan to use pre-casted modules manufactured off-site and assembled quickly on-site, combining traditional craftsmanship with contemporary construction methods. Reflecting on his past, Chedid recounts his experience designing a hotel in Jingdezhen as a project architect at Vector Architects. He learned the importance of capturing initial site instincts, translating them into detailed designs, and leading a talented team. The project taught him about meticulous attention to detail, respect for natural site conditions, and the cumulative impact of minor modifications on a project's quality. This experience solidified his belief in creating harmony between existing elements, vision, and physical creation. Chedid also shares his decision to leave Mashrou’ Leila in 2013 to pursue architecture in Lisbon, a move he found rewarding due to the city's potential. He advises aspiring architects to understand industry challenges, learn about business aspects beyond design, embrace non-linear progress, and be good listeners. Bavuso encourages following instincts and cultivating passion. Both emphasize architecture's active role in shaping human lives, advocating for beautiful cities that positively define future inhabitants. #ABACArchitects #NeuroArchitecture #InteriorDesign #ModularFurniture #CulturalLandmark #SustainableDesign #LisbonArchitecture #UserCenteredDesign #WellnessDesign

A new exhibition titled 'Exhibition in Rennes: Ronan & Erwan Bouroullec' showcases the extensive work of French design duo Ronan and Erwan Bouroullec in their home region of Brittany for the first time. The exhibition is split across three venues: Les Champs Libres, the Frac Bretange contemporary art museum, and Le parlement de Bretagne, and is conceptually divided into two main parts. The first part is a 20-year retrospective focusing on the brothers' industrial design projects. This segment features collaborations with prominent design manufacturers such as Alessi, Magis, Kvadrat, Vitra, Artek, and Samsung. Notable inclusions are their furniture and domestic items, alongside an array of archival materials. These materials provide insight into their design process, including development notebooks and scale models, offering a comprehensive look at their evolution in industrial design. One such collaboration highlighted is the 'Serif' TV with Samsung, which received the Wallpaper* award for 'Best Domestic Design'. The second part of the exhibition, titled 'Urban Reveries' and installed at Les Champs Libres, delves into the duo's foray into municipal landscape design. This section presents a collection of dioramic architectural models that envision new public spaces. These models depict unique urban patterns, including rocky outcrops, elevated sculptural streams, and meticulously designed gardens, reflecting what the studio describes as 'a wandering or urban dreaming based on a reflection of the city layout'. The exhibit aims to explore innovative approaches to public urban environments. Further installations include 'Le Kiosque' from 2015, positioned in the parliament courtyard. This modular structure, constructed from powder-coated steel with an oak interior and an overhanging roof, first appeared in Paris' Tuileries. Conceived as a movable tool to integrate art into public spaces, in Rennes, it is paired with 'Palissade', a collection of outdoor furniture developed in collaboration with Hay. The exhibition also features '17 Screens', an abstract display that explores the convergence of 3D printing with traditional production methods. Previously exhibited at the Tel Aviv Museum of Art, this installation showcases futuristic constructions utilizing diverse materials such as glass, ceramic, wood, and aluminium rods. It also incorporates curtains made from cup-like mouldings by ceramics innovator Mutina and patterned textiles. This segment is characterized as an experimental and atmospheric exploration, blurring the lines between design and art. Overall, the exhibition is presented as a carefully curated blend of their established works and new, more experimental directions. It offers an opportunity to re-evaluate the Bouroullecs' classic designs while also providing glimpses into their evolving artistic and design philosophies. The show aims to offer visitors a comprehensive understanding of the duo's influential and multifaceted practice. #BouroullecBrothers #DesignExhibition #IndustrialDesign #UrbanPlanning #ContemporaryArt #FurnitureDesign #ArchitecturalModels #PublicSpaceDesign #3DPrinting #RennesExhibition

The author explores the concept of "Design with a capital D," a term coined by T magazine editor Pilar Viladas, which refers to high-end, statement-making interiors. While admiring such designs, the author questions the necessity of always making a bold statement in a room, noting that rooms can become "rudderless" if too safe. The author's personal approach is to seek an "anchor" rather than a "statement" in design. The author discusses the pitfalls of the "statement wall," suggesting it can lead to a sense of completion prematurely. An experience is recounted where a client had invested heavily in De Gournay wallpaper for a dining room, leaving the rest of the apartment undone. The author's solution was to elevate the surrounding decor to match the grandeur of the wallpaper, emphasizing that complete overhaul isn't always necessary to transform a space. The author also touches on situations where decor becomes too tasteful, requiring a "punch" to disrupt the complacency. A personal anecdote illustrates this: while designing her own sitting room with elegant, understated elements, she introduced a zebra linen fabric to add an unexpected jolt. The author reflects on the influence of style icons like Lee Radziwill, whose tiger silk velvet sofa served as an inspiration, but also cautions against "statement seating" becoming a design cliché. The author advocates for introducing bold elements later in the decorating process, after a sense of balance has been established, to prevent them from dominating the entire space. Balance is highlighted as crucial, comparing it to cooking, and a trick for achieving harmony between rooms with strong patterns involves using a complementary color from the wallpaper in the adjacent room. The author admits to a lack of restraint in her own decorating preferences, contrasting it with the admired minimalist approach of interior designer Joanna Plant, who expertly curates a few perfect items. This personal struggle stems from a desire to possess many beloved items. Ultimately, the author emphasizes that rooms are not meant to be static but should evolve, bringing life to otherwise inoffensive interiors. The author dismisses the worry of rooms becoming boring, stating that their primary purpose is to serve as a backdrop for living, not to constantly entertain. The underlying message is to have fun with decorating, allowing for playful elements without overthinking cleverness, as seen in the September 2025 issue of Elle Decor. #InteriorDesign #Maximalism #DecoratingTips #HomeDecor #DesignPhilosophy #RitaKonig #StatementDecor #RoomBalance